I agree. Porter's clearly writing in a style he didn't often attempt (even if Brush Up Your Shakespeare is another Bowery waltz). That reprise that's all on fast eighth notes is, well, unlike anything I've ever heard. Not saying it's bad, not at all, just agreeing with DR WEL that it sounds unlike Porter.
Well. "My Lu-lu" is a klinker, but I think "Bianca" is as well. Porter had such a big success with ANYTHING GOES and NYMPH ERRANT, that I think he really was writing JUBILEE for his total amusement, and I think he stretched himself a lot in the composition:
"Feathermore" and its recitative
"The Entrance of Eric" into "The Kling-Kling Bird" is so elaborately laid out like a European operetta sequence
"Mr and Mrs Smith" isn't just two refrains, there's that opening verse and the patter section in between the refrains
"Six Little wives" with its vocal obbligatos and cross rhythms in the bass
I think his two ballet pieces, which are quite in debt to Ravel, are marvelous (is Mel doing the Greek Masque with its bitonality and/or the Beach Dance?)
Some of the Court Music is quite beautiful, and I never think of Porter as anything but a songwriter.
I do think JUBILEE's failure sent him back to writing more standard songs and comedy numbers, but JUBILEE from Day One, with all the publicity about the world cruise and the writing of the show, was meant to be soigne, the epitome of 1930s Broadway chic, and chic often has a limited audience base. ANYTHING GOES ain't chic.